All Practice articles – Page 5
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BlogsPlaying chamber music in adverse conditions can be a useful rehearsal tool
The Strad's assistant editor Pauline Harding performed with her quartet as part of 'Musicircus' at the Aldeburgh Festival – and fought to be heard in a cacophony of whistling winds, brass bands and bongos
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ArticleViolinist Jennifer Koh talks about the physical demands on a performer's body
In the third episode of Jennifer Koh's Off Stage On Record series, the violinist talks about the physical demands on a performer's body and the importance of avoiding injury. Read The Strad's guides on How to reduce tension when playing the violin or viola, and 11 stretching ...
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Premium ❘ FeatureHow to breathe freely when playing a stringed instrument
Ruth Phillips describes how she persuades musicians to rediscover their body and their instrument through the gentle art of inhaling
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Premium ❘ FeatureHow to reduce tension when playing the violin or viola
Mary McGovern provides some advice on holding your instrument without unnecessary spine and shoulder discomfort
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ArticleCellist Dane Johansen demonstrates 'blurred' string-crossing
US cellist Dane Johansen demonstrates 'blurred' string-crossing to accompany his Practice Diary on solo Bach in The Strad's May 2014 issue, out now. Subscribe to The Strad or download our digital edition as part of a 30-day free trial. To purchase single issues click here.
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Blogs6 pieces of advice for performers by violinist Daniel Hope
The soloist, former Beaux Arts Trio member and associate artistic director of the Savannah Music Festival offers tips for musicians on performing and launching a career
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BlogsRussian violin teacher Yuri Yankelevich on how to achieve quick reflexes in your playing
Yankelevich believed that violin playing is based on key physiological principles. In preparing the English translation of his works, Masha Lankovsky takes a look at some of his suggestions
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ArticleStudy finds emotional intelligence is key to achieving ‘flow' in musical performance
‘Flow' is a psychological state associated with extreme fulfilment, optimised performance, health and well-being
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Blogs
The art of distraction is more effective than repetitive practice
Repeating a difficult passage over and over again can lead to stress and tension. Instead distract your mind at the point of execution to feel relaxed as you play, writes cellist Thomas Demenga
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DebateWhy we should take Chinese players seriously
Using the lazy assumption that string players from China have ‘great technique but no musicality' ignores the talent that they bring to Western music, says Nancy Pellegrini
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FocusHow do you encourage students to develop their own musical ideas?
Teacher Talk: your string teaching questions answered by our panel of experts
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FocusHow do you help students avoid stage fright?
Teacher Talk: your string teaching questions answered by our panel of experts
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FocusMaking the most of one hour of practice
Teacher Talk: your string teaching questions answered by our panel of experts
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FocusHow to deal with unsupportive parents
Teacher Talk: your string teaching questions answered by our panel of experts
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FocusShould one borrow, hire or buy the first violin for a beginner?
Teacher Talk: your string teaching questions answered by our panel of experts
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FocusWhat criteria should be followed to determine what bowing to use in bass music?
Teacher Talk: your string teaching questions answered by our panel of experts
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FocusFrom the archive: Vibrato on the Violincello
In this article published in The Strad, May 1912, Emil Krall offers some instruction
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FocusPractice Diary: The Miró Quartet - part two
In the November issue, second violinist William Fedkenheuer explains how the four players prepare for a recording of Schubert's Quartettsatz. Here he goes into more detail regarding tempo and intonation
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FocusTeacher Talk: your string teaching questions answered by the experts
How long should a student work on a piece?
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DebateUse intellect, not instinct
Instead of simply focusing on technical prowess, performers should have as profound an understanding of music theory as composers do, argues cellist David Watkin, since it can only serve to develop their skills
